Processional Cross
By Kayla Colaruotolo
This processional cross is sculpted out of wood and covered in silver. This cross is also a crucifix, as the figure of the crucified Christ adorns its center. The crucifixion was very important to the Christian religion because it symbolizes salvation and eternal life. Until the fifth century, the crucifixion was not one of the major symbols of Christianity and Jesus’ sacrifice for humanity and a lamb usually symbolized the death of Christ. In the fourth century, the Romans began to make jeweled crosses. By the sixth century, the crucifixion was represented in many different ways because of the Church's efforts to rid the Christian community of different heresies, particularly those that argued against the duality of Christ. Thus, early crucifixes portrayed Christ with eyes open and alive—meaning that he is victorious over death because he is divine. In the ninth century, Christ begins to be shown with his eyes closed, representing the mystery of his death as well as the idea of the incarnation. Crucifixions in the thirteenth century focus on Christ's suffering ("Crucifixion," Encyclopedia Britannica).
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This processional cross (in the picture on the left) was made in Burgos, Spain, and dates to 1550. A processional cross was used for a religious or ceremonial procession, which involves a group of people moving forward in an orderly and ritualistic fashion. There are many different types of crosses, all of which have their own meanings. A cross may represent the axis of the world, the intersection between heaven and earth, the four cardinal points, or the four elements. The main part of the cross, the shaft, is a representation of the rotational movement of the earth's axis. The horizontal axis of the cross can also represent the human dimension of pain, negativity, and suffering, while the vertical axis may represent spirituality and God (Battistini, “Cross”). Out of all the different types of crosses (Easter Cross, Egyptian Cross, Greek Cross, Jerusalem Cross, Jeweled Cross, Papal Cross, Pommèe Cross, St. Andre's Cross, St. Peter's Cross, Staff Cross, Swastika Cross, and the Tau Cross) the Latin Cross is the most common in the Western world. It is believed that the processional cross in particular may have influenced the Latin cross by lengthening it (Appleton and Bridges, 21-28). This processional cross is, overall, forty-two inches in height and twenty-five inches in width. The manufacturer of this processional cross is unknown. It can now be found on the third floor in room 329 of the Ahmanson Building at the Los Angeles County Museum of Art (LACMA). The processional cross drew my attention because of the careful details and precision it took to make it. I also think it is worthwhile to examine the meaning behind each part of the cross to fully understand this object.
Catholics used this processional cross during church services or holidays. Many processional crosses were used for important religious ceremonies. During the sixteenth century in Europe, guilds were flourishing. Guilds were associations of craftsmen or merchants. The guilds provided mutual aid and protection for the different types of jobs. The carpenter and silversmith were part of these craft guilds (“Guilds,” Encyclopedia Britannica). This processional cross was sculpted out of wood. The carpenter most likely provided the wood out of which the cross was made. The silversmith then provided the silver detailing and small sculptures and figures that decorated the cross, making it appear vivid. In the sixteenth century, Spain's wealth was mainly from silver (Gascoigne, “History of Trade”). With a plethora of silver at their disposal, there are many Spanish processional crosses gilded with fine metals such as silver and gold.
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Churches today still use processional crosses. The processional cross is most commonly, and famously, seen with high-ranking officials, such as Pope of the Catholic Church. He is normally carrying a processional cross when in the middle of a huge ceremony. The Pope uses the processional cross for big events, such as in the celebration of a mass during an important Christian holiday. Other churches from different Christian sects, such as Lutherans, also use processional crosses. Processional crosses may also be seen in funeral services. The processional cross is normally placed near the altar after the entrance of a procession. When in a procession, the one holding the processional cross is walking in the front; therefore, the others in the procession will never see the front of the processional cross during the whole ceremony. This is because the cross is supposed to be held the same direction the person holding it. The only time the people in the procession are able to see the front of the processional cross is when the procession is over or when everyone is getting together right before the procession. Another instance in which the front of the processional cross is seen is when the Pope or priest is facing the crowd during a blessing. There are processional crosses for sale online as well. The ones sold online come in many different shapes and sizes.
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Processional Cross From Metropolitan Museum in New York
Francisco Becerril (1506-1573)
Although Francisco Becerril is not the maker of the processional cross from LACMA, he was a Spanish silversmith during the time that the processional cross was made. Although there is little biographical information on Francisco Becerril, his career can be instructive in examining how silversmiths in Spain were trained and what kind of works they produced. Francisco lived from 1506 to 1573 in Castile. He became famous because of his "monumental standing monstrance" for the Cuenca Cathedral. Unfortunately, the monstrance was destroyed in 1808. Between 1527 and 1537, Francisco made another standing monstrance of Villarscusa de Haro with Juan Ruiz and Luis de Castillo. Francisco later created three more tower-shaped monstrances. The monstrance of San Pedro de Huete was a traditional monstrance. The monstrances Iniesta and in Buendia were both made with three layers. The lower two layers were square-shaped while the top layer was circular. Francisco also made a set of coronas – crowns - in 1543 and a set of paxes - tablets decorated with sacred figures, usually Christ – in 1550 for the Cuenca Cathedral. Francisco made several crosses throughout his career. The ones he made in the mid-sixteenth century, such as the cross of La Puerta made in 1540, were known to be influenced by the Italian Renaissance artist Michelangelo. The later crosses he made between 1555 and 1570 are in a Mannerist style (“Mannerism," Encyclopedia Britannica). His later crosses were found in El Savador de Cuenca, Villar del Saz, Villar de Domingo García, Huete, Requeana and Gaudix Catedral. Francisco made a chalice at Mucientes. The chalice was plain compared to the rest of his work and he made it later in his career. It became a model for chalices produced in Cuenca. He was also known for his beautiful ewers set (Valdovinos, “Becerril, Francisco").
Works Cited
Appleton, LeRoy H., and Stephen Bridges. Symbolism in Liturgical Art. New York: Scribner, 1959.
Battistini, Matilde. "Cross." Symbols and Allegories in Art. Los Angeles: J. Paul Getty Museum, 2005.
"Bestiaries." The Thames & Hudson Dictionary of British Art. Eds. David Bindman and Nigel J. Morgan. London: Thames & Hudson, 1988. Credo Reference. Web. 20 Nov. 2015.
"Crucifixion." Encyclopaedia Britannica. Britannica Academic. Encyclopædia Britannica Inc., 2015. Web. 29 Nov. 2015. <http://academic.eb.com/EBchecked/topic/144583/crucifixion>.
"Evangelists." Brewer's Dictionary of Phrase and Fable. Ed. Susie Dent. London: Chambers Harrap, 2012. Credo Reference. Web. 29 Nov. 2015.
Gascoigne, Bamber. “History of Trade” HistoryWorld. From 2001, ongoing. <http://www.historyworld.net/wrldhis/PlainTextHistories.asp?ParagraphID=hbk>.
"Guild". Encyclopædia Britannica. Encyclopædia Britannica Online. Encyclopædia Britannica Inc., 2015. Web. 30 Nov. 2015. <http://www.britannica.com/topic/guild-trade-association>.
José Manuel Cruz Valdovinos. "Becerril, Francisco." Grove Art Online. Oxford Art Online. Oxford University Press. Web. 29 Nov. 2015. <http://www.oxfordartonline.com/subscriber/article/grove/art/T007198>.
"Mannerism." Encyclopædia Britannica. Encyclopædia Britannica Online. Encyclopædia Britannica Inc., 2015. Web. 29 Nov. 2015 <http://www.britannica.com/art/Mannerism>.
Battistini, Matilde. "Cross." Symbols and Allegories in Art. Los Angeles: J. Paul Getty Museum, 2005.
"Bestiaries." The Thames & Hudson Dictionary of British Art. Eds. David Bindman and Nigel J. Morgan. London: Thames & Hudson, 1988. Credo Reference. Web. 20 Nov. 2015.
"Crucifixion." Encyclopaedia Britannica. Britannica Academic. Encyclopædia Britannica Inc., 2015. Web. 29 Nov. 2015. <http://academic.eb.com/EBchecked/topic/144583/crucifixion>.
"Evangelists." Brewer's Dictionary of Phrase and Fable. Ed. Susie Dent. London: Chambers Harrap, 2012. Credo Reference. Web. 29 Nov. 2015.
Gascoigne, Bamber. “History of Trade” HistoryWorld. From 2001, ongoing. <http://www.historyworld.net/wrldhis/PlainTextHistories.asp?ParagraphID=hbk>.
"Guild". Encyclopædia Britannica. Encyclopædia Britannica Online. Encyclopædia Britannica Inc., 2015. Web. 30 Nov. 2015. <http://www.britannica.com/topic/guild-trade-association>.
José Manuel Cruz Valdovinos. "Becerril, Francisco." Grove Art Online. Oxford Art Online. Oxford University Press. Web. 29 Nov. 2015. <http://www.oxfordartonline.com/subscriber/article/grove/art/T007198>.
"Mannerism." Encyclopædia Britannica. Encyclopædia Britannica Online. Encyclopædia Britannica Inc., 2015. Web. 29 Nov. 2015 <http://www.britannica.com/art/Mannerism>.